Both passionate and artful, learned and bawdy, Catullus is one of the best-known and critically significant poets from classical antiquity. An intriguing aspect of his poetry that has been neglected by scholars is his interest in silence, from the pauses that shape everyday conversation to linguistic taboos and cultural suppressions and the absolute silence of death. In Silence in Catullus, Benjamin Eldon Stevens offers fresh readings of this Roman poet's most important works, focusing on his purposeful evocations of silence. This deep and varied "poetics of silence" takes on many forms in Catullus's poetic corpus: underscoring the lyricism of his poetry; highlighting themes of desire, immortality-in-culture, and decay; accenting its structures and rhythms; and, Stevens suggests, even articulating underlying philosophies. Combining classical philological methods, contemporary approaches to silence in modern literature, and the most recent Catullan scholarship, this imaginative examination of Catullus offers a new interpretation of one of the ancient world's most influential and inimitable voices.

The lives of Catullus and Horace overlap by a dozen years in the first century BC. Yet, though they are the undisputed masters of the lyric voice in Roman poetry, Horace directly mentions his great predecessor, Catullus, only once, and this reference has often been taken as mocking. In fact, Horace's allusion, far from disparaging Catullus, pays him a discreet compliment by suggesting the challenge that his accomplishment presented to his successors, including Horace himself. In Poetic Interplay, the first book-length study of Catullus's influence on Horace, Michael Putnam shows that the earlier poet was probably the single most important source of inspiration for Horace's Odes, the later author's magnum opus. Except in some half-dozen poems, Catullus is not, technically, writing lyric because his favored meters do not fall into that category. Nonetheless, however disparate their preferred genres and their stylistic usage, Horace found in the poetry of Catullus, whatever its mode of presentation, a constant stimulus for his imagination. And, despite the differences between the two poets, Putnam's close readings reveal that many of Horace's poems echo Catullus verbally, thematically, or both. By illustrating how Horace often found his own voice even as he acknowledged Catullus's genius, Putnam guides us to a deeper appreciation of the earlier poet as well.

Catullus’ life was akin to pulp fiction. In Julius Caesar’s Rome, he engages in a stormy affair with a consul’s wife. He writes her passionate poems of love, hate, and jealousy. The consul, a vehement opponent of Caesar, dies under suspicious circumstances. The merry widow romances numerous young men. Catullus is drawn into politics and becomes a cocky critic of Caesar, writing poems that dub Julius a low-life pig and a pervert. Not surprisingly, soon after, no more is heard of Catullus. David Mulroy brings to life the witty, poignant, and brutally direct voice of a flesh-and-blood man, a young provincial in the Eternal City, reacting to real people and events in a Rome full of violent conflict among individuals marked by genius and megalomaniacal passions. Mulroy’s lively, rhythmic translations of the poems are enhanced by an introduction and commentary that provide biographical and bibliographical information about Catullus, a history of his times, a discussion of the translations, and definitions and notes that ease the way for anyone who is not a Latin scholar.

From an award-winning poet comes a collection on heartbreak and transitions, written with a piercing lyric ferocity. FINALIST FOR THE NEW ENGLAND BOOK AWARD FOR POETRY • “Written with great tenderness and intimacy, Dream of the Divided Field reveals what we do (and do not) owe to others, and what we owe to ourselves.”—Poets & Writers The poems in Yanyi’s latest book suggest that we enter and exit our old selves like homes. We look through the windows and recognize some former aspect of our lives that is both ours and not ours. We long for what we had even as we recognize that we can no longer live there. Yanyi conjures the beloved both within and without us: the beloved we believe we know, the beloved who is never the person we imagine, and the beloved who threatens to erase us even as we stand before them. How can we carry our homes with us? Informed by Yanyi’s experiences of immigration, violent heartbreak, and a bodily transition, Dream of the Divided Field explores the contradictions that accompany shifts from one state of being to another. In tender, serene, and ethereal poems, Dream of the Divided Field examines a body breaking down and a body that rebuilds in limitless and boundary-shifting ways. These are homes in memory—homes of love and isolation, lust and alienation, tenderness and violence, suffering and wonder.

This cahier unites two texts by celebrated Canadian poet Anne Carson, encouraging readers to experience them alongside and illuminating each other. Variations on the Right to Remain Silent is an essay on the stakes involved when translation happens, ranging from Homer through Joan of Arc to Paul Celan; it includes the author s seven translations of a poetic fragment from the Greek poet Ibykos. By Chance the Cycladic People is a poem about Cycladic culture where the order of the lines has been determined by a random number generator. The cahier is illustrated by Lanfranco Quadrio."

A People’s History of Classics explores the influence of the classical past on the lives of working-class people, whose voices have been almost completely excluded from previous histories of classical scholarship and pedagogy, in Britain and Ireland from the late 17th to the early 20th century. This volume challenges the prevailing scholarly and public assumption that the intimate link between the exclusive intellectual culture of British elites and the study of the ancient Greeks and Romans and their languages meant that working-class culture was a ‘Classics-Free Zone’. Making use of diverse sources of information, both published and unpublished, in archives, museums and libraries across the United Kingdom and Ireland, Hall and Stead examine the working-class experience of classical culture from the Bill of Rights in 1689 to the outbreak of World War II. They analyse a huge volume of data, from individuals, groups, regions and activities, in a huge range of sources including memoirs, autobiographies, Trade Union collections, poetry, factory archives, artefacts and documents in regional museums. This allows a deeper understanding not only of the many examples of interaction with the Classics, but also what these cultural interactions signified to the working poor: from the promise of social advancement, to propaganda exploited by the elites, to covert and overt class war. A People’s History of Classics offers a fascinating and insightful exploration of the many and varied engagements with Greece and Rome among the working classes in Britain and Ireland, and is a must-read not only for classicists, but also for students of British and Irish social, intellectual and political history in this period. Further, it brings new historical depth and perspectives to public debates around the future of classical education, and should be read by anyone with an interest in educational policy in Britain today.

Catullus, who lived from about 84 to 54 BC, was one of ancient Rome's most gifted, versatile and passionate poets. Living at a time of radical social change at the end of the Roman Republic, he belonged to a group of young poets who embraced Hellenistic forms to forge a new literary style, the so-called 'neoterics'. This comprehensive edition includes the complete, unabridged and unbowdlerised poems and is the definitive student edition of Catullus' work. The extensive introduction covers topics including the role of Catullus' literary paramour Lesbia, the few biographical certainties known about Catullus' life and other figures from the contemporary political scene. In addition to this, there is a brief overview of the poems' textual history, discussion of Catullus' style across the collection and linguistic discussions of morphology, vocabulary, syntax and metre. The commentary notes include individual introductions and bibliographies to each poem, as well as line by line notes which translate difficult phrases and gloss obscure words. In addition to this, more detailed explanations of poetic, structural and contextual points are also provided.

The essays in this volume review the seemingly endless permutations wrought on Sappho through centuries of readings and re-writings.

This book explores how Horace's poems construct the literary and social authority of their author. Bridging the traditional distinction between 'persona' and 'author', Ellen Oliensis considers Horace's poetry as one dimension of his 'face' - the projected self-image that is the basic currency of social interactions. She reads Horace's poems not only as works of art but also as social acts of face-saving, face-making and self-effacement. These acts are responsive, she suggests, to the pressure of several audiences: Horace shapes his poetry to promote his authority and to pay deference to his patrons while taking account of the envy of contemporaries and the judgement of posterity. Drawing on the insights of sociolinguistics, deconstruction and new historicism Dr Oliensis charts the poet's shifting strategies of authority and deference across his entire literary career.